stage matters / By William Kowinski

All’s Not Well

One sign of a badly imposed concept is how much it works against Shakespeare’s words rather than with them. At times in this production there are heroic attempts to use the language, but mostly it’s a losing fight. Soon the desperation to escape from the lines and the play within them leads to one cheap trick after another — from cell phone photography to simulated vomiting.

In our time, there’ve been sincere attempts to re-invigorate familiar Shakespeare plays by changing or mixing milieus and time periods. Some have succeeded, and the best have provided new insights and interpretations as well as being highly entertaining. Others have been honorable failures.

But relocating Shakespeare’s plays to ever more bizarre times and places has also become a virulent fad. In some hands, it expresses mostly the feverish need to reduce the plays to spectacle, more from a peevish impatience with their complexity than as an opportunity to explore their depths of emotion and meaning. Shakespeare has become an exploitable if resented brand name.

Giving the benefit of the doubt to this production — that it is a sincere effort — didn’t improve my experience of it. For me it was more travesty than problem comedy. Even as an interpretation, it seemed to me to reduce Shakespeare to a wordy sitcom: the worst of both worlds.

People go to Shakespeare productions for various reasons. Those who go for a cute concept, costumes and clowning may enjoy this one. Personally, if I’m going to sit still for several hours, trying to maintain my concentration on all those words, I want some illumination and emotion that comes from the playwright generally regarded as the greatest who ever lived. I’ve enjoyed Shakespeare parodies — I’ve written and been in a few — but parody is parody. The play is the play. If that’s what was presented at NCRT, I’m truly sorry, I didn’t see it.

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